From this point of contact with the old civilization, the music of the early Christian worship gradually developed along the line of its own inherent and individual needs and kept pace with the internal unfoldment of the liturgic idea that at an early date imbedded itself firmly in all branches of the church services. The line of continuity in passing from the old to the new, however, was unbroken. Public ceremonials and priestly sacrifices have always produced conditions exceedingly favorable to the development of rituals and liturgies. This was conspicuously true of the Hebrew religion, as well as the Pagan religions which were practised in the opening centuries of the Christian era. It is not altogether surprising, then, that many Pagan ideas, forms, and ceremonials were incorporated into the ritual and liturgy of the early church, especially after the third century, when Christianity was received into the favor of the State. While the organization of the early Christian church was still simple and its government more or less democratic in character, the congregation took an active part in the musical portion of the service. But the gradual development of elaborate liturgies and ceremonies, the transformation of the clergy from representatives of the people to mediatorial functionaries, and the general hierarchical tendencies of the times--all contributed in bringing about a condition distinctly unfavorable to free congregational singing. Indeed, this was specifically forbidden in all liturgical services by the Council of Laodicea (343-381), and while the transfer of the office of song from the people to the clergy was not immediately effective, congregational singing in the apostolic sense passed out of existence in the fourth century. It is true that in private worship and in non-liturgical services the singing of hymns and psalms by the general body of worshippers was permitted, but the rapid growth of sacerdotalism irresistibly led to the corresponding withdrawal of initiative from the individual worshippers, until the clergy in all liturgical services finally assumed all the offices of public worship, inclusive of song, which was regarded as an integral part of the office of prayer. The establishment of the priestly liturgic chant marks the real beginning of the history of music in the Christian church, for music after that event became a matter of special qualifications and preparation on the part of the performers, and of rigid adherence to prescribed formulas and regulations in all details of performance. It followed with utmost logic from the doctrine of the universality and immutability of the church that its liturgy, rites, and ceremonies should not only remain unchanged from age to age, but should be uniform in all countries and localities where her authority was recognized.